ØRESUND SPACE COLLECTIVE

Here we have just four tracks, but the opening title cut is in excess of an hour and there is a total playing time in excess of two hours. What this allows the listener to do is truly get inside the album which was recorded by a few different line-ups with only Dr. Space, Jonathan Segel (violin, guitar), and guitarist Luis Simões credited on all tracks. It is difficult to realise this is improvised music as melodies are repeated, structures and tight arrangements created, and it feels highly orchestrated and rehearsed at times, loose at others, which clearly demonstrates the high understanding they have of each other and what they are aiming to achieve. The music moves in different directions yet is always strongly within space rock, never truly falling into the experimental which is often beloved of improvisors, yet somehow creating music which is cogent and articulate. The rhythm section provides the platform, while guitars/synth/Mellotron/violin all take leads or support the others, and one can only imagine everyone working together in the studio taking their cues and directions with head nods and hand signals. For a piece to work as well as the opener yet be that long is nothing of a huge achievement as the listener never loses interest as it moves us through the universe.

It is an album which any fan of this genre will thoroughly enjoy as Øresund Space Collective show that 40 albums in they are still as exciting and interesting as they have always been.

In the beginning "Part 1", quite impressive is brilliant echoic sitar exudation. For such an improvised performance, their colourful sounds are pretty refined and settled. We get veiled in Indo-Raga-ish flavour and grasp massive comfort. The middle part has been quietized and stabilized fully with flexible guitar playings and relaxing drumming / bass footprints. Very surprising and amazing is that every single melody line was played in a complete impromptu manner. We can be immersed in their 'perfectly synchronized and harmonized' playings. It's easily imagined that they played and recorded casually and sincerely. The last phase features a more complicated rhythmic combination and dreamy melodic crystallization but their improvisational sound collective is cool and delightful. "Part 2" full of muddy dissonant music streams suddenly follows the previous tune. The first part of the second movement sounds more improvisational and more dissected for us. And especially so tough and strict. Anyway this atmospheric effect will gradually be moved and developed dramatically. The violent melody-randomizing guitar launcher is quite fantastic. Also good is ethnic oriental texture produced by each instrument (esp. guitars and percussion). So understandable that they have positively introduced such a tribal orientality or ethnicity. There are some monotonous or invariant interludes indeed but their explosive performance sounds cooler, clearer, and more essential. And it's also good that the last part gets more unificated and rhythmically polished. The third term is more stylish and gorgeous along with synthesizer-oriented kaleidoscopic sound illusions. We can guess such a long psychedelic trip would exhaust them all and make their playings and performances repetitive and horizontal, especially in the middle part of this movement. But hey, not bad that their brilliant sound glitters by the synthesizers are magical. We can also mention that simple is good, can't we? (One of the hidden bonus tracks like "End Of The World As You Thought You Knew It" is good as a bluesy space rock brightly with superb flexible guitar lyricality.) The last "Everyone Is Good (Maybe)" gets much more tranquilized and delicious. ELectric guitar-based sticky repetitive sound construction is basically native and soily. But their mysterious melodic simplicity reminds us of their suggestive message 'goodness is not good' ... is this only for me?

Simplification of this spiritual creation might be for the audience on a long trippy trip I imagine?

Mellow guitar plays, bubbling synthesizer sounds, trippy melodic styles, crazy phantasmagoric violin expressions ... their superb 'live' gift "Høstsabbat 2021" released in March 2023 is a kind of our oasis under such a tough situation like Covid19 pandemic or conflicts all around the world. They launch massive spacey energy all around the venue from the very beginning of "Høstsabbat Jam", in that improvisational freakout jam session full of brilliant sound combinations and another dimensional psychedelia. Their lively appearances can be incredibly expressed via the album due to such a wonderful mixing / mastering by Dr Space, of course the collective discharge fantastic performances on the stage though. The opening could be mentioned as kinda ultimate space rock jam. The second movement "Take The Church Into Space" features slight ethnic flavours and repetitive palpable melodic twists. The rhythmic bases are quite simple but powerful impromptu produced by their strong instruments drive us deeply into the dark sky. Such an energetic improvisation theatre should be enjoyed and accepted in a real venue (what an envy for the live participants).

Through "Norsk Magical Adventure" we can be pleased in a bit slowtempo deserty rock structures with kinky violin plays, juicy guitar counterparts, based upon wacky synthesizer explanations and stabilized drums and percussion performances. Such a mystic space fantasy called "Magical Adventure" is really classic. In the latter part we can get immersed in uptempo meteor shower filled with their bright gemmy techniques. Gracious excitement on the last run and quiet finish are our pleasure. The last track "Colourful Explosions In Your Mind" is sorta gorgeous musical discussion of dissonant violin, dissected guitar, eccentric synthesizer, and relaxed drums / percussion. Something pastoral can be felt via the whole stream, and this atmosphere is another comfort of ours. And fantastic, enchanting is the figure that all of them are completely unified and eventually uplifted ... appropriate for the epilogue of this concert.

Our goodness. We would like to give ourselves to this gig eternally, wouldn't we?

4 tracks here including "Cosmic Balls Fall" on reverberating guitars and analog keyboards; a sound that puts you in the mood immediately and that does not stop because yes that is the magic of CSOs is that when you are installed, the current flows without interruption. "Cosmic Balls Fall Pt 2" continues with a life-saving musical rest; on notes from the film 'Rencontres du 3e Type', on a DEEP PURPLE solo, on a spaghetti western; of course it is my personal memories that dictate my strike here, in truth the OSC sound gives each of you the unique opportunity to go into an intimate personal psychedelic universe. He pulls more tweaks out of Scott's Pandora's box, the guitars seem to settle down and find a cruising rhythm; the end is softer like a space moment where we have to re-berth the ship. Dr Space cites the musicians present at this evening in reverberation too. "The Barking Lady of Ostepol" occurs, TANGERINE DREAM of yesteryear scratches my ear, the ship is forced to maneuver to return to Aldebaran; that's it the air suddenly comes out, heavy, here we go again; one of the easiest tracks to listen to due to its heavy, hypnotic atmosphere; sudden South American final, but what did I eat last night? "Dripping Brains" is already there, electro forward, Dr Gadget for a while, short hilarious psyche in a good way; I remember again the evocative sound of DEEP PURPLE during their instrumental madness. Good live album or not, gimmick or mantra cannot be described, it is lived... so you had 3/4 hours of my life there in the end. Some will say ah it's often the same thing, but... is your life the same all the time?

ØRESUND SPACE COLLECTIVE makes a compendium of evolving psych rock where crescendos, adrenaline rushes and musical cold sweats are in order; an album that you have to hang on to from the start for fear of not finding the right car and staying on the ground; Dr Space with his Pandora's box vibrates the improvised riffs, the brilliant solos, he increases the bass lines, the sound effects by fiddling with his little magic buttons; he raises the tone, the sound to explode the notes, to transcend them into a divine maelstrom; the music collides, merges to create the ultimate musical melting pot, the one from which nothing emerges; you are bewitched, you wonder how it can still exist in our time; the dynamic remains clear, obvious, progressive until these organoleptic rises where twists, vibrations and sound swirls merge in a final libation. ØRESUND SPACE COLLECTIVE is all that!

By the way the band is named after the bridge that connects Denmark with Sweden since it was a collaboration between Sweden's BLAND BLADEN and MANTRIC MUSE with the wild card being American Dr. Space who has been the constant on this project that has had over 30 musicians come through it's doors and most from known bands. This recording has two members of GOSTA BERLINGS SAGA, one from SIENNA ROOT, one from MY BROTHER THE WIND and one from AGUSA for example. Dave Schmidt and the PAPIR guys and so many more have also played on past records.

This was recorded live in studio in Denmark over 3 days where the band is based. I almost feel like I should be talking about the tracks that are keeping me from giving this 4 stars over my top three. I'm not big on the shortest track "Juggle The Juice" that almost comes across as a novelty song with those high pitched electronics. "Digestive Raga" is actually pretty good but 30 minutes is too long. "Raga For Jerry G" dedicated to the GRATEFUL DEAD member and we get slide guitar dominating this 20 minute track. I have such a hard time with not connecting the slide guitar with country music. Even if there are some classic moments out there in Rock like "Layla" for example.

"Bon Voyage" is only 6 minutes long and it ends disc one in a positive way for me. Highlight of the whole recording is "The Man From Wales" a 13 1/2 minute track that grooves. Love the organ and guitar in this one. This and the opener "The Ride To Valhalla" are top threes and the opener is a 19 1/2 minute piece opening with spacey winds as we buckle up for the ride. Plenty of violin and electronics in this one. How about the closer of disc two the 45 minute "20 Steps Towards The Invisible Door" I mean it has it all.

My top three would be around 78 minutes of music and would get a very high rating from me. I just can't hit the 4 stars for this one though even though there's probably something here for everyone.

Each CD is performed by a different lineup. Only Dr.Space is present on all of them.

After few introductive words, the gig starts immediately with "Open The Skies", an instrumental with an early Pink Floyd vibe from the days of Zabrisky Point. A good trip is starting: hypnotic repetitive bass line with keys, drums and guitar enlarging the soundscape. Something changes in the second half of this 16 minutes track, but we are still in the land of Ummagumma with a little hint of Quantum Fantay in the bass line.

Some spacey electronic sounds introduce "Flyby Guitar Hero. The structure is not much different from the previous track, with the instruments jamming over the bass line, but this time there's some more psychedelia and Dr.Space makes an excellent job in the background with the electronics. Søren is a sort of a metronome on drums (like often Nick Mason was). Other 10 sophomore minutes on just two chords.

Has anyone seen Nick? I don't think it's about "that" Nick, even if the drummer is again a sort of metronome. Now we are more in the Quantum Fantay realm than in the early PF, for about 15 minutes, then "The Man Who Ate Planets" is a lesson about how to spend 20 minutes on a single chord.

"The Last Glide" closes the first set. The intro is electronic, then a guitar riff comes. Another psychedelic jam of about 13 minutes. The structure is still the same: repetitive bass line and all the others jamming. Pleasant, but we probably need some chemical help to appreciate it entirely.

So it's not a case that the second set is opened by "Jamming For Your Mind". A good 14 minutes bluesy jam ending with Mr. Space introducing the band members to the audience. Now let's travel to the "Stargate 7431" with uptime drums and a guitar jam. This second band incarnation is less Floydian and more oriented to the soundscapes of Ozric Tentacles. The track fades directly into "Circular Perimeter". There's more drumming, I would have preferred a different production, giving the rhythmic part more evidence. Good guitar work for the most rocking track up to now. There's no pause. "Chocolate Orange Candle" starts where the previous track ends. This part of the CD is like a single long suite. Respect to the first set there's more rock. Sometimes it reminds in the mood to Jimi Hendrix's Experience. It's a live recording, after all.

Few words from the stage. A quick band intro then back to music. "One More Space Out" starts almost funky. It's another 14 minutes jam, but the odd signature and the intensity of the sound send us back to the 60's. Very trippy.

It's now time for the third stage and the monster 34 minutes track "A Long Night Amongst Friends" whose title says much about it. Bass, percussion, electronic winds and it's back to Ummagumma. Just relax and let it flow. The presence of a percussion solo in the middle is remarkable.

After more than 3 hours, "Find A Way Out Of Here" is an appropriate title. It takes 23 minutes to find it inside a delirium, but if you have make it up to now, you can enjoy also this one. The bass plays a two major chords sequence (E/F). This semitone distance gives the possibility of jamming using minor scales on major chords. Not very original but it gives it a sort of oriental mood. Later it changes into what I think is totally improvised. The chord sequence is quite melodic but the lead guitar is often dissonant.

"Let It Groove" is the third and last track of the third and last set. It's the most various and interesting track. A good closer, good to wake the audience up and give them the possibility of find their ways home.

Now let me give it its deserved 3 stars and go to grab a coffee.

Concerning the music itself, the rythm section acts like a power station, pumping in all the fuel required to sustain a high level of improvisation, both at level of the intensity and the imagination put into play. The musicians never seem afraid of clashing with each other, and, although that never really happens, sometimes the room seems a bit overcrowded with so many people launching a solo at the same time. There are many moments of good melody and charming spacey atmosphere, interspersed with other not so fortunate.

If you have a heart for jamming bands, this might be for you.

Opener `Improv to the Other Side' is the band at their most unhurried and joyous, a floating drift of slow-burn guitar dreaminess and flighty synth trills, reminding instantly of their previous `Out Into Space' live release from 2015 that saw the band at their most chilled, and it takes flight for an up-tempo sprint in the second half. The dusty violin that weaves in and out of `Sneaky Snake Jam' sounds like Embryo's `Steig Aus' making sweet love to the Ozric Tentacles, with permeating eastern moods infiltrating the lightest of near-reggae touches and swirling synth wisps between biting guitar wails and strident percussion stomps.

The instantly up-tempo groover `Henk's Jam-o-Rama' that kicks off the second disc straightaway picks up in fire with a flurry of relentless drumming urging the piece constantly forwards, a snarling chugging guitar grind rising over spiralling synth effects that captures a Hawkwind-like grunt (and dig Dr Space's manic electric piano run in the middle!) before a smouldering wail to simmer down on in the climax.

The tough `Freaks of Berlin' is overloaded with slithering, dirty and bluesy twin guitar and bass grooves, but best of all is the closer `Another Jam for Sabine'. This cracking jam begins as a laid-back eastern-flavoured meandering raga, all wisps of Theremin flitting about relentless percussion patterings, rising/falling synth winds and ragged violin cuts, eventually melting into a manic, thrashing and punishing surge of mantra-like guitar strangulations before the most mellow of come-downs.

You can't go wrong with any of the ØSC releases, but `Live in Berlin 2018' particularly boasts a perfect balance of alternating tranquil and frenetic moods, frazzled heavy grooves and endlessly out-of-control drumming behind infectious synth-noodling! If unpredictable and vibrant psych/space jams are your thing, no one do them better than this crew.

Four stars...and don't delay in picking up one of the 500 CD copies - not many left!

I should say that that the current entry of "Chatoyant Breath" is not exactly correct. It would be more right to present here the full album version which consists of 5 tracks clocking in at approximately 136 minute. And this full-version is available only as 2xCD edition:

CD 1 - 1. Peaceful Patterns (28:37) 2. Chatoyant Breath (36:08) CD 2 - 3. Angular Ambrosia (28:02) 4. Turbulent Trepidation (23:21) 5. Celestial Sensation (19:23)

Why it's important? First, because vinyl/digital versions do not include "Celeatial Sensation" - while it's one of the two tracks featuring all three guitarists in the ØSC line-up: Gary Arce (of Yawning Man, Ten East, Zun, etc.), Nicklas Sørensen (of Papir), and Nicholas Hill (of The Univerzals). Second, because the original flow of the album is broken in the vinyl/digital versions - consider that some tracks on the album are bridged, like "Peaceful Patterns" and "Chatoyant Breath" on CD1. Just have this in mind when choosing to purchase your version of "Chatoyant Breath".

Anyway, this album in some way differs from ØSC recent recordings as there are no any aesthetic or stylistic ideas-visions behind it. This is free-loose-end impro-instrumental Jam-Rock in its purest and natural form though tinged with multiple synth-space effects. The soloing, improvising, and dueling guitarists as well as the grooving rhythm section featuring bassist Jiri Jon Hjort (of The Univerzals, Fri Galaxe) and drummer Martin Bjerregaard (of Psyched Out Janis, Fri Galaxe, The Univerzals, Gas Giant, etc) are at ground zero throughout the music context. It doesn't mean that the role of synth-gurus Dr. Space and Mogens Pedersen (of The Univerzals) is not important though - without the cosmos of swirling-n-bubbling effects generated by these two, the music would probably be similar to primordial Desert-Stoner/Acid-Rock jam from early 90's.

But what we have here is excellently crafted Psychedelic-Space-Rock instrumental improvisations in a wide range of moods and emotions - from more spaced out , relaxed, and exploratory jams (on CD1) towards more weaving, riffing, tickling and scratching your mind action tracks (on CD2). Summing up, everyone who enjoys improvised instrumental Psyche-Rock beyond compositional forms will find quite a lot catching and mind-bending things on "Chatoyant Breath". Not to be missed!